Fighting Against Heterosexual Hegemony:Queerness in Nightwood

Djuna Barnes, an American writer, is most associated with the development of English modernist writing of the twentieth century. Barnes's reputation as a writer was made when her second novel Nightwood was published in 1936 with an enthusiastic introduction by T.S. Eliot. Grounded mainly on queer theory, this paper analyzes Nightwood with its focus on the breakdown of the only two heterosexual marriages of the novel and intends to demonstrate that one of many aspects of the novel reflect the very core of queer theory.

同性恋态度变迁的研究综述

同性恋一直是人们关注的对象。本文先回顾了同性恋概念的变迁,分析早期研究者对同性恋的看法及其转变,对研究结论进行了总结,借鉴"酷儿理论"对同性恋的看法进行分析后,提出在异性恋霸权的主宰下,异性恋者应纠正态度,并对同性恋者保持足够的尊重。

What Is the Queer——An Introduction to Queer Theory

Queer theory,as a field of post-structuralist critical theory that emerged in the early 1990s out of the fields of queer studies and Women' s studies,is now receiving more and more academic attentions.This paper gives an introduction to its definition,theorists,basic premises as well as its literary applications,aiming to shed some light on this seemingly "queer" theory.

Study on the Flora of Spermatophyte in Xinluhai Nature Reserve of Queer Mountain

Based on the field investigation, the flora of spermatophyte in Xinluhai Nature Reserve was analyzed. The results showed that there were 41 families, 99 genera and 164 species of seed plants. The top families distribution types were cosmopolitan and north temperate ones, while the main genera distribution types were north temperate and cosmopolitan ones, and the proportion of the temperate ones was higher than the tropic ones, which showed that the north temperate elements were dominant in floristic composition. In this area, the species were lack, and herbaceous plants had a distinct advantage, showing a characteristic of the vegetation.

另类狂欢——Queer电影与先锋电影文化

Y 希拉莉·史旺克在《男孩不哭》里饰演一个性倒错者,一个想让自己象一个男人一样与女人相爱的女人,她成了奥斯卡新任影后;药师傅丸子在《星闪闪》里饰演一个坚持要跟同性恋男子结婚,并试图生一个有两个父亲的小孩的边缘女人,她成了柏林新任影后。《星闪闪》拿了金熊大奖。新千年伊始。

中国语境下关键词“queer”的译介之争初探

"queer"一词是后女性主义批评理论的关键词之一,自从译介到中国以来,就拥有多种译名,学界就这些译名的讨论也非常热烈。最重要的争论主要体现在三个方面:"queer"的多种译名之间的争论,"queer"与"gay"和"lesbian"的争论以及保守的中国传统文化对"queer"的接收与排斥之争。

关键词“Queer”在中国的译介研究

20世纪80年代晚期至90年代初期,酷儿理论作为继女性主义之后一种新兴文化社会理论在欧美思想界极为盛行。queer是性别文化研究的关键词,也是女性主义文学批评研究的重要关键词之一,对关键词的翻译在中国文化史上有着重要意义,对关键词queer的译介经历了文化碰撞和文化对话。

Beyond Venus and Mars:The Creative Queer Spaces of Daniel Nolasco’s Uranus,Neptune,and Pluto

The aim is to examine the creative queer spaces of Daniel Nolasco’s short films Uranus,Neptune,and Pluto.The main argument indicates that the trilogy unveils geographic landscapes that are not common to current imagination of a typical Brazilian heteronormative space,built by the contrast between the beaches and forests and the density of the city.In the three films,Nolasco explores the deviations from any heteronormative norm in creative queer spaces where alternative experiences and sensibilities of the male homoerotic body are possible.

Like a Wrecking Ball: The Creative Queer Spaces of Gustavo Vinagre’s “New Dubai”

The aim of the article is to analyse the creative queer spaces of Gustavo Vinagre’s movie New Dubai. The mainargument indicates that gay sex creatively brings the possibility of resistance against gentrification and questionsheteronormative rules in the organization of society and space. Sex and the violence of the interventions in thecontext of the real estate speculation point to the violence and voyeurism of filming, especially of filming sex.

Knocking Walls Down:Queer Architecture and Creative Cities

Based on bibliographic research,the article analyzes how queer architecture challenged gentrification,real estate speculation,and segregation of minorities in creative cities.The results show that the architecture of queer spaces can be understood as a practice of gender and sexual resistance and biopolitical disobedience,as the capitalist architecture worked as a biopolitical technology for producing gender and sexuality and shaping political and sexual identities through techniques of surveillance and the construction of the public/private divide for controlling gender and sexual reproduction.

Intruders:Gay Explicit Sex in Queer Movies

The aim is to analyze the use of sexually explicit material in queer movies,particularly in the short film“Intruders”.The movie takes place amid political upheaval in Brazil and brings an intersection among class,privilege and sex.The main argument indicates that many queer movies face the ongoing political normalization of same-sex desires in the society and bring alternative forms of relationality,which may be framed by the location where they develop and characterized by the fluidity of the relationships among the characters.The explicit sex aims to examine alternative forms of relationality,which question the normalization of specific actions and sexual behaviors.Based on a different perspective from the traditional pornography,“Intruders”understands sex as a political act,so that it is neither the consumption of bodies,nor the pursuit of desire at any cost,but the construction of new possibilities of relationships.

Blinding Lights: the Creative Queer Geography of Daniel Nolasco’s Dry Wind

The aim of this paper is to examine the creative queer geography of Daniel Nolasco’s movie Dry Wind.The main argument indicates that,instead of representing countryside cities exclusively as places of repression and denial,the movie shows part of the countryside gay culture.The realism of the fertilizer factory and the aridity of the city of Catalão are opposed to the extreme stylization of vibrant colors and blinding neon lights of the main character’s fetishist imagination,which indicates how he increasingly surrenders to his desires.Beyond the pornographic representation of homoerotic desire,Dry Wind also proposes alternatives for affective expressions of masculinities that do not conform to the prevailing moral standards.

Sense and Sensibility:The Erotic Triangle in Shakespearean Sonnets

The male-female-male relationship is a recurrent theme in William Shakespeare's sonnets. In Eve Sedgwick's influential queer study book Between Men: English Literature and Male Homosocial Desire, she first interpreted the relationship within the model of erotic triangle. On the basis of Sedgwick's theory, the triangle relationship in the Sonnets is analyzed—Shakespeare constructs an erotic triangle where males by identifying, cooperating, and competing with each other, maintain their homosocial bond upon heterosexual but misogynous desires towards a female. The contradictory relationship reflects Shakespeare's struggle vis-à-vis a Renaissance literary theme: rationality versus passion, with the former mounting over the latter.

A Commentary of the Queer People of Color Identity Affirmation Scale for Positive Attitudes

Sexual minority(SM)is gradually becoming more visible as a more open and diversity society.SM mainly includes lesbian,gay,bisexual,transgender,asexual and so on.According to SM stress theory,SM people,populations at risk,have poor mental and physical health under a long-term acute or chronic stress and pressure due to prejudice and discrimination[1].In America,among young SM,minority stress,negative psychology,substance use,and human immunodeficiency virus(HIV)risk influence each other to damage psychosomatic health[2].With an increase in SM stress,participation in health-promoting activities decreased and problems with physical health increased[3].

Zoology, Celibacy, and the Heterosexual Imperative： Notes on Teaching Lu Xun＇s ＂Loner＂ as a Queer Text

This essay reflects on the reception of Lu Xun＇s short story ＂The Loner＂ （Gudu zhe, alternately translated as ＂The Lone Wolf, The Misanthrope,＂ and ＂The Isolate＂） in American classrooms, where students have sometimes wondered whether that character might be read as ＂queer.＂ It suggests that the title character＇s unusual and self-imposed celibacy is probably best explained by his belief, in a very general sense, in the foundational values of zoology as practiced in Japan and China in the late nineteenth and early twentieth centuries, and thus that the story may be a better gateway to understanding the ways in which Lu Xun envisioned the mixed impact of new political economies on private life than a source text for queer studies. At the same time, however, this essay emphasizes that in ＂The Loner,＂ as elsewhere, accounting for the ＂heterosexual imperative＂ of early zoology （e.g., with its emphases on animal husbandry, propagation, reproduction） can have meaningful consequences for ＂queering＂ interpretations of received texts from literature, history of science, and beyond.

Voices and Their Discursive Dis/Content in Taiwan Documentary

Instead of attempting to provide a survey of Taiwan documentary, this article focuses on a few critical moments in its long and uneven history and proposes a potentially productive site for understanding its formal manifestations of representational politics. By honing in on the uses of sounds and words, I show that the principle of a unitary voice--voice understood both as the utterances of sound and the politico-cultural meaning of such utterances-- organizes the earlier periods of the colonial and authoritarian rules and shapes later iterations of and formal reactions to them. Be it voice-over narration or captions and inter-titles, this article provides a historiographical lens through which the politics of representation in Taiwan documentary may be rethought. Furthermore, this article takes documentary not merely as a genre of non-fiction filmmaking. Rather, it insists on documentary as a mode, and indeed modes, of representation that do not belong exclusively to the non-fiction. Notions of ＂documentability＂ are considered together with the corollary tendency to ＂fictionalize＂ in cinema, fiction and non-fiction. Taiwan, with its complex histories in general and the specific context within which the polyglossiac practices of New Taiwan Documentary have blossomed in recent decades in particular, is a productive site to investigate the questions of ＂sound＂ in cinematic form and ＂voice＂ in representational politics.

A Space Odyssey:Decoding the Reality of Dictatorship in Carolina de Robertis's Cantoras

By turns brutal and beautiful,Carolina de Robertis's 2019 novel Cantoras explores twelve years of violent Uruguayan dictatorship where five women of different ages,social,economic,and familial circumstances are yet all equally affected by misogyny,homophobia,and political repression.The women come together to create a haven of freedom wherein to navigate their sexuality without being criminalized,in the middle of a place where freedom for a better future seems to belong to another bohemian era of dreams.Pieced together from the real-life oral narratives and testimonies of hundreds,lost or silenced in the mainstream din,the novel brings to life a portrait of queer love and forgotten history unlike any other.This essay aims a close reading of the socio-political environment of the novel from dictatorship to the revolution which makes the journey that these women take from social isolation to widespread acceptance,their achievements,losses,and resilience shine all the more.

The“Dragging Foot”of Jose Garcia Villa’s Performative“Comma Poems”

Jose Garcia Villa’s "comma poem,"in which he introduces“a new,special and poetic use”for the comma,is arguably the poet's most contentious innovation.Starting from an appropriation of Leonard Caspar’s description of the comma poems as "demonstrably malfunctional as a dragging foot,"this essay argues that the comma poem was a visual performance whereby Villa dis-oriented and de-naturalized poetic“flows”through a quccr/crip aesthetic of hesitation and brokenness.Read as footsteps and/or footnotes,the comma’s minor mark interrupts and dis-ablcs normative flow,forcing the reader to adopt a nonnormative“gait.”Utilizing Sara Ahmed’s phenomenological theory of "queer orientation,"I examine how the comma poems’specific incongruity extends beyond modem grammars:anticipating readings of his“foreignness”and"insensitivity"to the English language.Villa performs the essentiality of the“minor mark”through linguistic experimentation.In doing so,he queers not only the“direction”of modem poetry and its canonicity,but also a contemporary politics of recuperation.

/I■/ and /■/

Dear is a deer,with two long ears.People far and near like to hear Dear cheer so clear and queer that they laugh to tears.